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An Autoethnography The Qualitative Report Volume 21 Number 2 Article 14 2-29-2016 The Influence of Situated and Experiential Music ducationE in Teacher-Practitioner Formation: An Autoethnography Leon R. de Bruin Monash University, [email protected] Follow this and additional works at: https://nsuworks.nova.edu/tqr Part of the Quantitative, Qualitative, Comparative, and Historical Methodologies Commons, and the Social Statistics Commons Recommended APA Citation de Bruin, L. R. (2016). The Influence of Situated and Experiential Music ducationE in Teacher-Practitioner Formation: An Autoethnography. The Qualitative Report, 21(2), 407-427. https://doi.org/10.46743/ 2160-3715/2016.2253 This Article is brought to you for free and open access by the The Qualitative Report at NSUWorks. It has been accepted for inclusion in The Qualitative Report by an authorized administrator of NSUWorks. For more information, please contact [email protected]. The Influence of Situated and Experiential Music ducationE in Teacher- Practitioner Formation: An Autoethnography Abstract This study explores how my musical background, teaching and performance skills, understandings, and knowledge acquired from both formal and informal influence has shaped myself as musician, teacher and researcher. The study reveals various learning cultures and social networks that frame my multiple professional identities that have themselves developed from my understandings of being a performer, an educator and researcher. This study explores three aspects to my being: personal identity, professional identity and my perception of the impact this has on my students through my teaching and performing. An autoethnographical method is used to investigate my background that is initially formed by the different modes of music education I received. The study reveals significant influences and formative experiences that impact knowledge and skill accumulation, shaping what informs my own practice as a musician, teacher and researcher. It reveals ongoing exploration, reflection and personal negotiations in maintaining ones’ development of performance and personal creative processes, whilst functioning as a facilitator and educator to others. This study offers insights into how cultural backgrounds, social contexts, teachers and peers influence others. Keywords Formal and Informal Music Education, Situated Learning, Jazz, Improvised Music, Identity Creative Commons License This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License. This article is available in The Qualitative Report: https://nsuworks.nova.edu/tqr/vol21/iss2/14 The Qualitative Report 2016 Volume 21, Number 2, Article 10, 407-427 The Influence of Situated and Experiential Music Education in Teacher-Practitioner Formation: An Autoethnography Leon R. de Bruin Monash University, Melbourne, Australia This study explores how my musical background, teaching and performance skills, understandings, and knowledge acquired from both formal and informal influence has shaped myself as musician, teacher and researcher. The study reveals various learning cultures and social networks that frame my multiple professional identities that have themselves developed from my understandings of being a performer, an educator and researcher. This study explores three aspects to my being: personal identity, professional identity and my perception of the impact this has on my students through my teaching and performing. An autoethnographical method is used to investigate my background that is initially formed by the different modes of music education I received. The study reveals significant influences and formative experiences that impact knowledge and skill accumulation, shaping what informs my own practice as a musician, teacher and researcher. It reveals ongoing exploration, reflection and personal negotiations in maintaining ones’ development of performance and personal creative processes, whilst functioning as a facilitator and educator to others. This study offers insights into how cultural backgrounds, social contexts, teachers and peers influence others. Keywords: Formal and Informal Music Education, Situated Learning, Jazz, Improvised Music, Identity I am a doctoral candidate in music education, a secondary school instrumental teacher, director of concert, stage, and jazz ensembles, as well as a trumpet player and performer of jazz, improvised music and performer of traditional classical and contemporary works for trumpet. I have led a successful performance life, playing, recording and touring in a wide range of styles of music. My passion for jazz and improvised music has driven my desire to teach and inspire others in the joys of embarking on the journey of acquiring improvisational ability. Reflecting upon creative jazz education as an expert practitioner/teacher with decades of experience and knowledge, my teaching encounters in the field have viewed the excellent, the mediocre, and the misinformed, myopic educational misrepresentations evident in some jazz and improvisational teaching. The need to remedy this distortion and lack of quality in collaborative, creative music making is one that drove me to begin PhD studies in the domain. My PhD study has enquired into the learning and teaching of numerous prominent Australian improvisers, to better understanding the vast experiential and situated influences that shape expert improvisation and my creative, personal voice. Learning from others and observing the way their experiences have shaped their music life, this autoethnographical study explores three aspects to my being: personal identity, professional identity and my perception of the impact this has on my students through my teaching. Investigation Begins with an “I” Commencing PhD studies has had a profound effect on me; to the way that I reflect on my past learning experiences, the way I continue to teach today, and to the possibilities available in the future through further education and opportunity. Higher education has facilitated an intense immersion in knowledge; educational theorizing, the multi-faceted 408 The Qualitative Report 2016 aspects to understanding teaching and learning, and a reconnection with University friendships and communities that has rejuvenated and rekindled my interest not only in creative music making, but a thirst for knowledge in more effective teaching, learning and critical thinking in general education. Reconnection with a research community has made me aware of the importance of wider and deeper understandings of the ways and reasons behind my teaching, and of being a reflective practitioner/educator (Schön, 1983). A University learning environment has made me question and bring into focus lived experiences that shaped my cultural, social and political understandings, placing myself within a social context (Bartleet & Ellis, 2009; Hamilton, Smith & Worthington, 2008; Reed-Danahay, 1997). Examining myself rigorously continues to provide a greater understanding about the development of myself as a more informed researcher and as a critical-reflexive practitioner (Cunningham & Jones, 2005; de F. Afonso, & Taylor, 2009; Quicke, 2010). My PhD study has initiated a journey of learning, self-discovery and reflection. If I am to better understanding others' learning and experiences, I must gain a thorough understanding of my own learning. Hanks posits that, "Learning is a way of being in the social world, not a way of coming to know about it" (Lave &Wenger, 1991, p. 24). Learners, like observers are engaged both in the contexts of their learning and in the broader social world within which these contexts realize. The first step in my long road of critical self-reflection began with remitting to myself the question "Who am I? Who and what have influenced me to become who I am?" This compels an investigation into multiple influences of my peers, teachers, musical collaborators, mentors, and co-conspirators in musical discovery. Willingham (2009) asserts that "we teach who we are" (p. 59) so it is necessary to investigate my roots to understand and give a clear picture of who I am as a teacher and musician, what I represent, and how these facets of my life interconnect. The studying of myself allows me to discover the reasons underpinning my personal experience, professional practice and the educational beliefs and values I hold (Tenni, Smythe, & Boucher (2003). The revealing of my life experiences, the meaning making and understandings that have shaped my life offer much more than a starting point in my doctoral journey. Socrates' proclamation that "the unexamined life is one not worth living" (Navia, 2007) offers me justification to search for the essence of my being, and value my philosophical journey, animated and structured in all my activities. An investigation and disclosure of my experiences can inform those who work with students of any level of the experiences we gain shaping and educating others. In knowing ones' self better, we understand more deeply we are individual and unique; that our students are not like us, their experiences are different and that the informed and thoughtful educator is mindful of this. This study can inform the thoughtful educator in adopting the phenomenological reduction of suspending assumptions (epoché/bracketing). By establishing a hermeneutic articulated by Gadamer whereby "prejudices and fore-meanings that occupy the interpreter's consciousness are not at his free disposal" (Moran & Mooney, 2002, p. 327), educators can operate
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